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| Foreword | |
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| Acknowledgments | |
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| Introduction: Literature: Vive la Difference | |
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| Why Study Children? | |
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| Why Study Girls? | |
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| So, Why Does Literature Matter? | |
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| What Was Wrong with My Research Questions? | |
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| The Chapters | |
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| Where Are Their Human Role Models? | |
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| Why Are Female Characters of Fiction Not Role Models? | |
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| Seeing and Imagining the Text | |
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| How Critics Believe That Ideas Influence People | |
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| The Relationship between Literature and Life | |
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| Floating above the Story | |
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| The Importance of the Narrator | |
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| Reading with Multiple Selves | |
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| Seeing and Imagining at the Same Time | |
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| Written Text as Cinematic in the Mind | |
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| Shifting Points of View | |
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| Going "Off-World" for Insight | |
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| Grasping Theme | |
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| Seeing and Transcendence: The American View | |
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| Transcendence of Artistic Lines | |
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| A Separate Moral Vision | |
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| Voyages Off-World: Healthy? | |
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| "It's Like a Fantasy World": Gender and Form | |
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| Genre as Focalizer, Adventure Quest as Freedom | |
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| Why Girls Appreciate Harry Potter and Secondary Worlds of Fantasy | |
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| Appreciating Fantasy beyond Hero | |
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| The Multiple Climaxes and Quests of Fantasy | |
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| The History of Gender and Form in the American Romance and Novel | |
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| British Fantasy for Children versus American Romance | |
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| Gender and Form in Nineteenth-Century America | |
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| Gender and Genre Continue in American Bookstores and Blockbusters | |
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| An Example of Utopian Vision | |
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| The Genre of Identity: Suspense, Action, Quest, and Gothic Form | |
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| Suspense | |
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| "The Whole World-Ending Thing" | |
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| "The Horror, the Horror!": Gothic Mystery | |
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| Form over Victim, Mind over Matter | |
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| Getting Good at Form | |
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| Serialization: Mystery Saga That Never Ends | |
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| Gothic Landscape | |
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| How the Gothic Doubles | |
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| Gothicizing the Female | |
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| Cherchez la Femme: The Problem of Verisimilitude | |
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| Alienation from Female Characters in Written Fiction | |
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| How the Gender of Fantasy Becomes Bound to Their Appreciation of Literature | |
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| American Girls and the Freedom to Fly | |
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| Constructing Female Stories as Fantasies | |
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| Structuring Texts Perceived as Verisimilar | |
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| Structuring Psychology | |
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| Structuring Emotion | |
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| Film and "Reelism" | |
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| Empowerment of Female Characters | |
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| The Role Film Plays in Social Life | |
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| Attending to Actresses | |
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| Growing Up With Film | |
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| The Paradox of Film, More Novel Than Literature | |
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| Beauty in the Beast: The Power of Metamorphosis | |
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| Acting in Play: A Different Transcendence of Self | |
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| The Appeal of Species Metamorphosis | |
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| Embodying the Animal Narrative | |
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| The Braid of Animal Literature and Imaginative Life | |
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| Our Bodies, Our Animals | |
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| Transcendence of Human Form | |
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| Coda: Tapping Girls' Responses to Reading | |
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| Comparing Form across Genres | |
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| Exploring Narrative Strategies | |
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| Investigating Points of View | |
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| Conclusion: Encouraging the Aesthetic Stance | |
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| Interviews as Texts: A Methodological Discussion | |
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| Notes | |
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| Works Cited | |
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| Index | |
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| About the Author | |